
2. Time Lapse Lifeline
3. It's Time
4. My Favorite Love
5. 100,000 Times
6. Green Butterflies
7. Broad Daylight
8. A Chance
9. Orchids
10. Cartoons and Forever Plans
go to igethype.blogspot.com








Vancouver bad boy Geoff Berner’s latest album is not a spectacular achievement in the field of music. Basically all of the music on Klezmer Mongrels is played by an accordion, violin, and what sounds like a djembe with a couple symbols. It isn’t supremely recorded and has absolutely no chance for mass appeal whatsoever, but, come hell or vampire weekend, I like this album. It’s just as fun and drunk as Gogol Bordello, yet it’s more coherent and not as loud. To get this album is to buy Geoff’s quirky personality and the vibe he’s going for, not necessarily the musicianship and fidelity of the recording. This is the campfire jam session style of klezmer punk.
Most songs mention booze and/or girls, with the possible exception of “No Tobacco” (an essential song that begs the world to not roll their joints with tobacco lest they sully the true taste and experience of BC bud). The lyrics are perfect for the form, delivering everything good, honest folk music should. They’re blunt and boozy, with a hint of “fuck this” and anything goes. Of course, it is a little confusing to hear Berner talk about trying to breed out the bad half of German culture in “Half German Girlfriend”, not the only time the subject is broached on the record, but it’s easy to live with considering its context. Though I’ll never see the spectacular cover art by Kelly Haigh (who also did a great Carolyn Mark album) sail up the Billboard charts, it will never leave my collection. Here’s mud in your eye...www.popmatters.com

Bigger, brighter and more danceable than predecessor Alright, Still, this autobiographical album is chock-full of double standards, crashing generalisations, and taunts, giving a handy update on Lily's state of mind.
Opener Everyone's At It is a wonderful ball of contradiction. Pointing the finger at everyone, from those taking sleeping pills to those on crack, Lily admits that she's been there. Now, bored with all-nighters, it's those still awake that she's hectoring. Musically, it's a different story, with more celebratory old-skool ''voot-voots'' than you can shake an MDMA fuelled glow stick at.
Fear addresses London-Paper-Lily, who buys a beach in Jamaica, supports Kylie at a private party in Dubai, diets, and has a shoe closet the size of Brazil. Eminently danceable and slightly trancey, she apologises for her avarice, confidently blaming the system.
Musical rip-offs are still at large: Him sees Lily wondering about God (''His favourite band is Creedence Clearwater Revival''), to a backing track referencing Nico's These Days, while George Bush tribute, Fuck You, trips along to the Carpenters' Close To You piano.
The ugly side of the album comes out in Not Fair, a pseudo country track which could give Victoria Wood a run for her money in comedy bad sex songs. Likewise, accordion-fuelled Never Gonna Happen glorifies using someone who loves her for sex.
22 is a unkind ditty about pretty women who find that, nearing 30 and single, they are worthless to society, leaving you wondering if Lily Allen is an unreconstructed male in a young woman's body.
He Wasn't There is a track about her dad's lack of parental responsibility, while calling him her hero. And Chinese appears to address her mother, who's always there for her, yet, ''I know it doesn't seem so fair but I'll send you a postcard when I get there''.
And therein lies the difficulty: the album's a piece of exquisitely produced, loveable pop, perhaps down to co-writer and producer Greg Kurstin of addictively catchy duo, The Bird And The Bee. But it would be rather lovely to be able to listen without the clattering opinions of this complex character...www.bbc.co.uk
